IGI features
ICON 2003 Conference Report
Aug, 10, 2003Joven attended 2003’s ICON illustration conference as the IGI delegate. His diary of daily events gives a brief outline of the magnitude of the US illustration scene.
There are many concerns facing illustrators today internationally. Some new. Some not so new. The shrinking pie of work, competition from stock-houses, shrinking fees, the creeping loss of copyrights to clients. In this less than ideal climate, to a great extent illustrators are of course concerned first with the immediates of getting more, better and higher paying work, which compounds matters further. The 3rd biannual conference known as ICON has recently been held in Philadelphia. The first two were in Santa Fe. Inspiring and definitely worthwhile; a great opportunity to catch-up on the state of the industry as well as to rub elbows with peers from all areas and levels in the field. The conference was originally called four years ago to address certain issues of the time. It was a critical time then and it still is.
Following are some notes from the event. This is by no means an exhaustive account. The event was absolutely jam-packed with talks and events and I am providing here what I believe would be of most interest to Irish illustrators.
June 25, 2003
I am excited to not only be attending the ICON but also to be going back to my own country for a visit. That’s right, I am a sham. An Irish resident but a San Francisco boy, really. I can’t even do an Irish accent in a clinch. Being here now I feel a little like a transsexual on a date. When do I tell? Should I have mentioned my true nationality in my emails? The name should have been a clue, I would have thought. I arrive in Philly Thursday afternoon with my traveling mate Joyful Freeman (also of hippie parentage, if you couldn’t guess) Both of us knackered from the intense heat wave we endured during our visit to NYC this past week. She, familiar with the city and an experienced traveler. Me, wide eyed and heavily burdened with tons of crap that will prove to be completely unnecessary. Spent some leisure time putting a zero in front of the area code instead of a one. Strange to feel culture shock in my own country. Partially I’m acclimated to my emerald digs, partially the US just changes so fast you wouldn’t want to leave it for too long, I’m telling you. Just getting some copies at Kinko’s required a bit of major brain rewiring. And how come I can’t get channel one on the hotel TV? Oh yeah.
Day one
It’s day one and the very first event for me is the workshop on forming an illustrators group which I have been invited to speak at. This is a sort of pre-event, as I understand - one of several. I spent the morning trying to get the handout I’ve prepared on the train the day before off of my laptop and onto some paper (why should this be so hard?) and am slightly late, establishing early my trend of being slightly late. Although some of the goals of these local groups are different than those of the IGI (it being a national and singular group), much of the information is very useful and I will be bringing it back to the committee. I wasn’t able however to find an answer to my question of how do busy volunteer organizations deal with committee burnout and membership apathy in the face of not being able to afford to participate.
The Amateur Spirit
4:00 sees all us attendees seated in the largest venue for the opening address and first keynote speaker. Right off the bat Kurt Andersen passionately introduces what will become one of several reoccurring themes throughout the conference - that is the idea of the amateur spirit. As he explains, it’s not a question of competence vs. amateurism. The paradoxical trick is to combine the two. To be willing to risk failure. “As long as I don’t completely know how to do something I can do it well. The first time you fuck it up in an interesting way. The second time you get it right and then you’re out of there.” Kurt has approached many different things amateurishly, if I can say that. He has served as editor in chief of both Spy and New York magazines. In addition, he is a novelist, television producer and playwright.
Impressions from day one
Back in my hotel room I begin to assimilate all that I saw during this day. A smorgasbord of beautiful work on display in the presentations and in the books in the ICON Bookshop. To my eyes today illustration seems alive and well. Despite the almost universal presence of Macs currently in studios, human mark seems to be very much “in” and that makes me happy. I think Ireland hasn’t quite caught on to this trend away from computers yet. I’m struck by how isolated we are from what’s going on in the industry over there. Yes, we have the web, but there’s only so much you can glean thru that little tiny window IMHO. I can’t help being a bit skeptical that these artists are really able to make their illo living from this really fantastic free-wheeling stuff that gets in the annuals. I’m sure they do make money from it but is it their bread and butter? It certainly isn’t mine.
Day 2 Saturday: The art spirit
Stephen Heller, art director for the NY Times and author of countless books on design and illustration, hosted this interview segment given in an informal and somewhat goofy living room setting. Maira Kalman was very entertaining with her stories of professional stalking of the “vagueness professor” (ask her if you ever meet her) and dangerous fireboat excursions (the exciting lives some illustrators seem to live!). She reiterated Kurt’s point of the importance of “doing what you don’t know” as a financial consideration as well as a creative one. In the current climate for illustration it pays to branch out and this was another message destined to be repeated throughout the conference. Myra herself has done some pretty wild jobs including impressively creative chairs and manikins.
Also interviewed was Christoph Niemann, a self-professed idea man who approaches each assignment differently according to its needs. Heller admitted that as an art director, he had to get used to not knowing what Christoph would deliver.
This points to a major difference in practicing illustration in Ireland vs. the States - In the States you never show more than one style at any one time as a rule. The client wants to be able to tell exactly what he’s going to get and variety in style in a presentation can be seen as lack of focus/development and as incompetence. It’s okay to have more than one style but you generally keep them separate - even changing your name for a second style. Here in Ireland where the market is so small comparatively, you’re often expected to have several styles - that’s often considered a plus. The small market has created a need for a Jack-of-all-trades. On the one hand, as an illustrator who likes to experiment, I found the Irish situation refreshing and less restrictive. On the other, it seems to be part and parcel of a certain understanding of illustrators as tradesmen - line mechanics. The idea that they might be hiring you for your unique point of view (to express yourself) has not yet occurred to every art director in Ireland.
Industry Update:
This discussion was the first of 3 political talks and our first view during the conference of the friction between the GAG and the IPA. The Graphic Artists Guild is a national organsisation of and for visual artists that has recently developed into a union. The main voice for the GAG during these talks was President (and ace cartoonist) Lloyd Dangle.
The Illustrators Partnership is younger; having been around since approximately 1999 and was founded purely for professional illustrators. The IPA was represented here by founder and legendary illustrator, Brad Holland. These 2 orgs may differ in their charters but both are united in their dedication to the betterment of the industry and both have long lists of impressive accomplishments in terms of education, advocacy and effecting actual change.
At the introduction it was ominously stated by the moderator that name-calling would not be tolerated, so right away we were clued in that there was a history here.
I’m not going to go into much detail of the disagreements because frankly I didn’t get much of an understanding of them from the talks. The IPA’s main contention seems to be the recent unionisation of the gag, which it sees as a bad thing for freelancers. I will say that overall my impression is of weariness. The GAG and the IPA both seem tired of the battle which I understand has been going on for years now. And I think it has taken a toll. Likewise, the people I asked about their impressions of the whole thing expressed weariness and even disinterest. This is unfortunate as the issues are important. If you want to read more please visit the sites of these orgs listed above.
It was reported that stock houses are moving existing stock illos to royalty free without permission from the artists involved. Stock houses are introducing client confidentiality; artists will no longer know who they work for. Chris quotes Image as saying that these are necessary steps because “images have become a disposable commodity” Concern about Image.com being absorbed by Corbis (there are currently 10,000 illos from image.com on Corbis. Several artists are looking into whether this is illegal.)
Children’s book workshop
Suddenly its lunchtime but that’s only for lazy people who don’t want to attend either of the lunchtime workshops. Thank Jayzuz for those wonderful and quick sidewalk grills they have in Philly. I’d heard about them and yes, they are good! Of 3 options for this time slot I chose to attend the children’s book workshop (with my Philly cheese steak). This was a highly informative talk about the business side of children’s books given by top editors. A very worthwhile view from the other side.
Some useful nuts and bolts info re: contracts, advances, etc.:
1. Understand the age, attention and tastes of the targeted reader. If you don’t have children of your own, borrow some and read your book to them. Do they stay rapt? If not there’s something wrong with your story’s pacing or delivery.
2. Never submit a finished book to a publisher. The publisher is going to want to control the specs at the very least. Clear categorisation and is a huge consideration for a book publisher.
3.See your book as a business. Opportunities for further income include: Paperback issue, audio version, bookclubs, further books in series, Board book, games, plush toys.
The Power of a Good Perspective
A talk by Craig Frazier. Endearingly nervous, he quickly declares that he has decided to abandon his written speech and just wing it. First artist to focus on business rather than creativity. Only illustrating 7 years, Craig told the fascinating story of how he came to switch from design. Seems he was told by his printer that he had 3 inches of bound trim on a book he designed and that he could produce a second little book for no extra charge if he wanted. But he only had overnight to create it. So he stayed up all night making little illos by cutting up electrician’s tape! These got a bigger response than anything else he had done up to that point. “Think like a kid” Craig advises. Interested in illo from then on (only now he cuts amberlyth rather than tape). One piece of advice that sticks in my head is to “express your portfolio in a way that expresses your enthusiasm about it.”
Anti Trust
Recently in the States (thankfully no one’s thought of this yet in Ireland) many freelancers have been presented with contracts that grab all rights. The wording always sounds ridiculous: “in all media existent and yet to exist throughout the Universe!!!!” (and beyond, I suppose, although I personally have never been in the position of negotiating interplanetary rights). These contracts often also require you to give over all rights retroactively for everything you’ve done for them! These are always offered by corporate-owned big media companies in a take it or leave it fashion. Many people have been faced with the choice of giving up a big client all at once versus accepting this contract which also means selling all future rights of a perhaps sizable backlog of work for the price of one illo. Clearly given the balance of power these days, copyright law is not doing what it was intended to do, which is protect the creator.
Freelancers just don’t have the bargaining power. One current strategy for rectifying this is an antitrust exemption as put forth in the Conyers Bill (supported by both IPA and the GAG). At the moment illustrators are not allowed legally to collectively bargain as a union might. Further, any collusion regarding prices is technically price-fixing and illegal. There was some discussion over what this would mean but we do have a previous example in the American Society of Media Photographers. Dick Weisgrau from that organization claimed that they published day rates for photographers throughout the $50 $60 and $70s and claimed that that worked very well and that its end (it was shut down) had a detrimental effect.
Through our Eyes
This one featured 3 illustrators all adept at expressing their political opinions thru their work. The subject centred on the current post 9/11 political climate and its adverse effects on journalism and in turn illustration particularly - but not limited to -illustrators who express a political view. The moderator was Steven Guarnaccia, a great illustrator himself, appearing here more in his role as editor of the op ed page of the NY times and finding himself in the position of apologizing for this state of affairs (illustrator Whitney Sherman particularly took him to task). He explained that art directors have become largely messengers for the editors, [whose hands are presumably, in turn, tied by the ownership] having less and less power themselves. All agreed journalism has been severely compromised. Steve Brodner said that things will turn around as they always do but its not going to happen quickly.
Steve Brodner is a quite inspirational artist. Watching him draw in his short film looked like some kind of time dissolve trickery he’s so good.
The student awards and show
Down the road was a real kickass national illustration student show and awards ceremony. Watch out. No one who’s seen him will soon forget the fishman
The big prom
It’s Saturday night and a big bash is on courtesy of the ICON and featuring an Afro-Brazilian band and dancers. A good time was had by all. Lots of sweaty dancing involved. Really! I was surprised it got as going as it did. (We Americans aren’t really known as the best at enjoying ourselves). Officially this is a masked ball and predictably there were many impressive masks made by the attendees.
Day 3
The power of copyright
If you’re reading this in Ireland you might be thinking what interest could US copyright procedure hold for you. The fact is The US copyright office is not limited to use by Americans or to works published in the States - anyone in the world can make use of it and it’s worth considering. This panel and at least 2 others featured Paula Lerner, a very organised photographer full of tips for running a freelance business. This panel featured a representative from the US Copyright Office who had a wealth of useful information, some of it new. For instance, since the anthrax mailings, US mail is routinely irradiated - A process that incidentally destroys colour laser prints if present (that explains it! The last time I attempted to use the US Copyright Office they sent me back a pile of sticky mulch, which they said was my submission. I didn’t believe them until now.). To get around this, you can send FedEx (this is also useful info for those wanting to mail anthrax) or better yet send CDs.
That’s right, the big news is that you can now register copyright by CD. You must follow certain guidelines however.
Suggested also was taking advantage of the 3 month “publication grace period”, by saving everything up until the earliest bit is to the wire and sending it in as an “unpublished collection” Basically you are allowed to put any of your works together and call it a collection for purposes of copyright as long as it is unpublished at that point. By registering a collection you only have to pay the $30 fee once, rather than for each work, which can get expensive. Once it is published it can only be considered a collection if it is some kind of published collection - the illustrations comprising a children’s book for instance. An audience member asked if placing an illo on her website constituted publication. The issue of whether appearance on the web constitutes publishing is still undecided so for the moment the office is willing to except it as either in this respect (regarding published status and its grace period when registering), its up to you in each case.
A Further benefit of copyright is that if you don’t get paid it becomes a copyright issue. Paula Lerner, a photographer, also on the panel, says that when she has made gentle suggestions to a slow paying client such as “I wouldn’t want this to become a copyright issue” she was then paid like a shot. The importance of registering your copyright and of having a system for this as part of your routine was repeatedly emphasized. All of the copyright forms and further info are conveniently available as PDF downloads from the US copyright office site. Honestly, it’s an extremely handy and well put together site.
Another running theme to the conference I would call “You’re in business. Be businesspeople, dammit!” There were several sharp NY type lawyers and business people on the panels, making this point in an emphatic NY type way.
Paula Lerner emphasized the importance of knowing your daily cost of doing business as in not underselling your work. If you know you need to bring in ?250 a day, you’ll understand the impact on your living that a 100 Euro illo can have and you may think twice. Also, keep a paper trail. “At the very least the paper trail for an assignment should include: estimate, contract, delivery memo, invoice, and usage license, proof of payment and terms and conditions.” You can find more business advice for freelancers at editorialphotographers.com The GAG contract monitor on the Graphic Artists Guild site is another useful resource.
Closing: Closing Speeches
As at the beginning of the conference, we are all once again gathered into the largest venue, for the closing speeches. Looking around, I am struck by what a roomful of obsessive doodlers we are. It seems that that energy could somehow be harnessed.
Superstar illustrator and designer Milton Glaser receives and extremely warm welcome to the stage for his closing speech.
Glaser told the stirring story of when he was bed bound with an extended illness as a child. Every morning his mother would bring him blocks and he would create a city. Each night he would destroy it and dream of what he would build the next day. “I know that making things saved my life,” he said. “I know all of you have had a similar experience”. As he said this I could feel a chill down my spine as well as the collective spine of the audience.
The end
It was only at the end and post conference that portfolios started appearing in any kind of numbers and I found myself wishing that more of that could have been incorporated into the conference somehow. Monday morning: It was all over before it started
Well this is the day I leave on this incredible journey. Last night I intended to head back out to town or at least to the Hotel’s Jacuzzi (you gotta love priceline) but passed out exhausted instead. Besides, I was unable to locate any post conference action. Now I’m wide awake and it’s early. I’m going to head out for a walk now to gather my thoughts. Seeing all these exciting professional people has got my mind turning. I’m writing this at the diner in the Reading Terminal, another great building here in Philly. It’s a bit surreal ‘cause we’re in a car tunnel formed by the building and the street outside looks like a street at night. Awww, American coffee. Why is it so much better? And -the refill! One of the main messages other than run your business as a business was ‘believe in yourself’ - do what you do and make the leap. I was particularly struck with Dan Yaccarino’s and his “yes, yes I can” approach. According to him, he somewhat bluffed his way into much of his work including his own animated series with this handy phrase.
On the flip side, I’m aware that success is the great story of America. Everybody in America wants to hear it. Positive positive positive is the mantra. Organisers are hardly going to invite someone to speak on how they gambled everything and failed. Whew! How’s that for a negative ending?! I’m sorry I just can’t help myself sometimes.
